Posts tagged with 'collector'
Sometimes, correcting mistakes found in the museum’s records leads to new and completely unexpected connections. This recently happened to me. I’ve spent more than ten years working my way through the Tibet collections here at World Museum. As I document the collections I try and fill in some of the gaps in our knowledge: do I know who made the object (often I don’t)? Do I know who once owned the objects (sometimes I do)? How did they collect the object? What do we know about the collector who sold or donated the objects to the museum? Read more…
14 February 2017 by Sarah
Mike Tyler is the collector and architect who owns the striking array of 32 OSPAAAL posters currently on display in our Art of Solidarity exhibition. We asked Mike what he looks for when adding to the collection:
“The bulk of my collection dates from OSPAAAL’s founding in 1966 to the mid 70s, which is referred to as the ‘Golden Period’ of Cuban poster art. It is no coincidence this was a time of great political and social unrest with the civil rights movement, Vietnam War, Watergate scandal and struggles against apartheid all providing fuel to creative fire.
Many collectors are interested in the politics whilst some have an affinity with Cuba. For me, the appeal is their artistic merit, which has long been revered in the world of both propaganda art and graphic design. In terms of desirability, there is a big collectors market for civil rights and Black power material so these posters command the highest demand. Posters featuring Che, Nixon or the more well know conflicts such as the Vietnam War have a broader appeal. Then you have the more renowned artists such as Alfredo Rostgaard, Rene Menderos, Jesus Forjans & Faustino Perez who created some of the most iconic posters.
In terms of the actual posters, given they are paper and were designed to put up on walls, that means stains, tears, holes etc are to be expected. Considering their age, the fact they even exist is impressive but for the serious collectors condition is important. Provided they aren’t too bad, I don’t mind a few scars as they show they have been used as intended. The posters were issued folded within Tricontinental magazine so for me fold-lines are a good thing as it implies they are originals rather than later print runs.
I also like to know a little about the person who owned the posters before me. To date I’ve dealt with musicians, activists, curators, journalists, TV presenters, antique book dealers and even the artists themselves. It all adds to their story.”
Don’t miss Mike’s free talk on 17 February about his poster collection at the International Slavery Museum, part of our series of free events planned throughout the Art of Solidarity exhibition.